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Curtis Rogers
MusicWeb International, January 2019

The production is a generally stimulating and convincing account of the work overall which should please fans of the composer and Baroque opera enthusiasts. Presumably for the purposes of sustaining dramatic tautness, some arias and recitatives are cut. For a more considered account of the work in the studio, devoted “Vivaldians” will want to investigate Dantone’s full recording of the opera on CD for Naïve with his usual group, Accademia Bizantina, and five of the same vocal soloists as here. © 2019 MusicWeb International Read complete review



John W Barker
American Record Guide, May 2018

When I first saw this release I just thought it was a video counterpart to Dantone’s audio recording of this opera, which I have already reviewed. It turns out to be a successor to that audio recording—a production staged in Turin in April 2017. It has most of the same cast, and we hear again the propulsive work of his fine period-instrument outfit. But the opening scene of Act II has been omitted here.

Of the 8 singers, 5 are from that earlier team. The repeaters are an excellent bunch, with Mingardo in the lead, and they essentially reprise their earlier excellent vocal work. Of the new people, Cangemi and Tomasoni are also strong and able singers. © 2018 American Record Guide Read complete review on American Record Guide



Richard Lawrence
Gramophone, February 2018

VIVALDI, A.: Incoronazione di Dario (L’) [Opera] (Teatro Regio Torino, 2017) (NTSC) DYN-37794
VIVALDI, A.: Incoronazione di Dario (L’) [Opera] (Teatro Regio Torino, 2017) (Blu-ray, HD) DYN-57794

Carlo Allemano, a little dry of voice, makes Darius both formidable and amusing. His rivals are well contrasted, Lucia Cirillo’s Oronte dressed in a bright yellow uniform, Veronica Cangemi’s Arpago a terrorist in dark glasses sporting a bandolier. Roberta Mameli’s Alinda is the acme of fury at her betrayal by Oronte, Romina Tomasoni is good as Flora, the comic maidservant, and Riccardo Novaro—though he should look older—is touching as the lovelorn Niceno. Delphine Galou makes a credibly scheming Argene and Sara Mingardo, in a long auburn wig, is quite brilliant as the featherbrained Statira. Both sing like angels. Ottavio Dantone gets zestful playing from his non-period orchestra. I enjoyed this a lot. © 2018 Gramophone Read complete review on Gramophone



Records International, December 2017

Premiered in early January of 1717, this seemed like a retrograde move with its dense and complicated libretto, multiple characters, balance of comic and serious and long scenes of recitative in the era when the da capo aria was establishing itself but it was also a continuing station in Vivaldi’s brilliance at orchestration and pointing of dramatic and psychological detail in music which relentlessly moves forward at an almost breathless pace. © 2017 Records International





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